No disciple of Bonone's school acquired much celebrity, and, least of any, Lionello, nephew to Carlo, and his heir. He was indebted to his uncle for his knowledge of the art, but could never be induced to practise it with diligence. What he has left was either executed with Carlo's assistance, and from his designs, or is of very middling merit. Others, who had successfully attained the manner of this master, died young, as Gio. Batista della Torre, born at Rovigo, and Camillo Berlinghieri, both artists of genius and highly estimated in collections. Some early pieces of great promise adorn the church of S. Niccolo, where the former painted the vaulted ceiling, but on some defect in the work being pointed out by the master, he refused to complete it, and setting out in anger for Venice he there took up his residence, and shortly came to an untimely end. By the second was painted the picture of the Manna, at S. Niccolo, besides several others throughout the city, and a few also at Venice, where he obtained the name of the Ferraresino, and where he died before completing his fortieth year. The highest reputation was obtained by Alfonso Rivarola, likewise called, from some property left to him, Il Chenda. On his master's death he was proposed, as the most familiar with his style, by Guido Reni, to complete an unfinished work of Bonone. At S. Maria in Vado is the Marriage of the Virgin, sketched by Bonone, and which Chenda painted, Lionello having declined to venture upon such a task. This picture has a powerful rival in one of Bonone's, placed opposite to it, though it still displays a hand not unworthy of following that of Bonone. His fellow citizens entertained the same opinion of his other early efforts, such as the Baptism of the Saint, exhibited in a temple of noble architecture at S. Agostino, in a style of foreshortening that displays a master. His Fables, too, from Guarini and Tasso, conducted in the Villa Trotti, as well as the pictures yet belonging to the same nobles, and to different houses in the city, are held in esteem. But he executed little for churches and collections, aiming more at popular admiration, which he obtained by exercising at once the office of architect and of painter at public festivals, and in particular at tournaments, then so very prevalent in Italy. One of these, which he conducted at Bologna, laid the foundation of his early decease. Either he met with little applause, and took it to heart, or, according to others, had such success as to lead to his being carried off by poison. Thus, in few years, Carlo Bonone's school approached its close, not without leaving, however, numerous works which, owing to their uniform style, are now attributed generally to the school, not in particular to any artist.